Ekebergparken, Kongsveien 23, N-0193 Oslo, Norway

Ekebergparken

Ekeberg Pavilion

The sixty-three acre Ekebergparken is packed with art world heavyweights past and present. Anneka French responds to a selection of the sculptures sited there.

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Whitechapel Gallery, 77-82 Whitechapel High St, London E1 7QX

Max Mara Art Prize for Women: Corin Sworn

Corin Sworn, Silent Sticks, 2015. Max Mara Art Prize for Women. Installation view at Whitechapel Gallery, London, May 2015

Words flash before the viewer as Sworn reminds us of the perils of language, disrupting and chaining the body to class, material goods and societal structure. Review by Katherine Jackson

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Ullens Center for Contemporary Art, 4 Jiuxianqiao Rd, Chaoyang, Beijing, China

William Kentridge: Notes Towards a Model Opera

Notes Towards a Model Opera, Installation View at UCCA

The Ullens Center for Contemporary Art presents ‘William Kentridge: Notes Towards a Model Opera’ - a comprehensive retrospective that marks the artist’s largest exhibition in Asia to date.

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Château de Versailles, Place d'Armes, 78000 Versailles, France

Anish Kapoor

Descension

As Château de Versailles' 2015 guest, Anish Kapoor presents sculptures which engage with the groves and fountains of André Le Nôtre's spectacular gardens.

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Venice Biennale

Sarah Lucas in conversation with Don Brown

Sarah Lucas is representing Britain at the 56th Venice International Art Biennale. Her major exhibition, I Scream Daddio, is showing in the British Pavilion from 9 May - 22 November 2015. In this film, Sarah Lucas gives a tour of the exhibition in conversation with fellow artist and close friend Don Brown.

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Southampton City Art, Southampton City Council, Civic Centre, Southampton SO14 7LY

Dan Holdsworth: Spatial Objects

Dan Holdsworth, Spatial Objects installation view, Southampton City Art Gallery, 2015

As with most of Holdsworth’s work, it is not simply a case of moving from one image to the next with a small nod or murmur of appreciation. ‘Spatial Objects’ presents a challenge to its viewer, a space within which the audience must think and observe for themselves. Review by Eva Szwarc

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Modern Art Oxford, 30 Pembroke Street, Oxford OX1 1BP

Lynn Hershman Leeson: Origins of the Species (Part 2)

Lynn Hershman Leeson: Origins of the Species (Part 2), installation view, 2015

What is technology, but another tool for shaping our identities? Lynn Hershman Leeson has been exploring the relationship between humans and technology for over fifty years, starting in a time before technology looked anything like it does today. Review by Jessica Furseth

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KARST, 22 George Place, Stonehouse, Plymouth, PL13NY

A Set of Lines, A Stack of Paper

Installation view

Conceptual and text-based art works have been ongoing subjects of debate with regard to their relationship with the viewer and their seeming lack of visual composition. Jaime Marie Davis reviews A Set of Lines, A Stack of Paper.

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Waterside Contemporary, 2 Clunbury St, London N1 6TT

Nascent States

Installation view

The current exhibition at Waterside Contemporary does not call itself a feminist exhibition. It does not even offer a press release. Just a list of artist's names. No pat answers here. If the viewer wishes to enjoy the sense of an understanding, then the viewer will have to work for it themselves. Review by Beverley Knowles

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Hauser & Wirth, 23 Savile Row, London W1S 2ET

Roni Horn: Butterfly Doubt

Installation view, Roni Horn, Butterfly Doubt, South Gallery, Hauser & Wirth London, 2015

Containing many of the artist’s familiar trademarks and recurrent thematic territories, this exhibition of drawings provides fresh perspective on Roni Horn's more well-known sculptural practice. Review by Will Gresson

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Coleman Project Space, 94 Webster Road, London, SE16 4DF

Charlie Duck: These Sticks

Untitled

'These Sticks' brings together a collection of new paintings, drawings and sculpture by Charlie Duck, produced specifically for Coleman Project Space.

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Ikon Gallery, 1 Oozells Square, Brindleyplace, Birmingham B1 2HS

Pavel Büchler: (Honest) Work

Evoking both the ‘good works’ of Catholicism and the notion of the Protestant work ethic, we are prompted to consider what might (dis)honest work look like? Would we recognise it? Is it to be found here? Review by Harun Morrison

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